Get cre­ative as run­way coifs reach new heights (and shapes) this sea­son.

ELLE (Malaysia) - - CALENDAR - By Tengku Zai

Hair this sea­son has gone to epic heights

With ev­ery new fash­ion sea­son, the prom­ise of rein­ven­tion and trans­for­ma­tion is re­newed. As they say, the devil is in the de­tail, and the beauty looks across the run­ways this sea­son were no ex­cep­tion, dis­play­ing waves of in­spi­ra­tion and plenty more to wear. Tex­ture, shape and con­tour were all im­por­tant themes, em­braced ev­ery­where from Etro’s bro­cades to Yo­hji Ya­mamoto’s min­i­mal­is­tic yet sen­sual sil­hou­ettes.

Amid the shows’ painterly eye shad­ows and glit­ter­ing pouts, hair played a struc­tural and state­ment-mak­ing role, es­pe­cially for pared-back make-up looks (it’s far eas­ier to get away with the oth­er­worldly hair seen at By­b­los than the oth­er­worldly make-up at Man­ish Arora). The common de­nom­i­na­tor among this sea­son’s up­dos was struc­ture, where stylists sculpted tresses in­spired by past eras. “At Cé­line the hair is very Cé­li­neesque, which means that it is sim­ple and min­i­mal. I used Red­ken Mess Around 10 on the roots to give the hair a bit of hold and tex­ture. I wanted the prod­uct to hold the lines cre­ated as I raked my fin­gers through the hair. This tech­nique made the style feel mas­cu­line in a way,” ex­plains Guido, Red­ken’s Cre­ative Con­sul­tant.

The ’60s sparked the in­ter­est of Guido, who drew in­flu­ence from the decade for hair­styles at Valentino. “The col­lec­tion this sea­son felt more eclec­tic, so I wanted the hair at Valentino to be more whim­si­cal and play­ful,” he muses. “I cre­ated a sim­ple part and added a lit­tle bit of height at the crown to give the hair a late ’60s kind of feel. Re­gard­less of th­ese youth­ful sub­ti­tles, the vibe re­mained true to the brand’s iden­tity. The hair is beau­ti­ful and very Valentino.”

Some shows had, dare we say, mo­ments of height­ened hair drama. Just take a look at Jean Paul Gaultier and Wun­derkind. “It looked slightly ’50s or ’60s from the front, with a very tight front go­ing into a raised sec­tion, which elon­gated the shape of the head,” says Eu­gene Souleiman, global cre­ative di­rec­tor of Wella on the hair-rais­ing look he sculpted at Wun­derkind.

The 1940s also ap­peared to be sources of in­spi­ra­tion for Souleiman at An­to­nio Mar­ras, where he used the clas­sic Varga girl as his muse and cre­ated vic­tory rolls on ei­ther side of the head which he de­scribed as almost quiff-like. “The col­lec­tion fea­tured a lot of tex­tured fab­rics, mostly at the hem­lines and be­low the waist, so I wanted to bal­ance it at the top with hair that was a lit­tle harder and sex­ier,” he ex­plains.

How­ever you put your hair up, it’s ev­i­dent that mod­ern twists are a must. To achieve your de­sired ef­fect, here’s a tip from Souleiman: “It’s good to have an idea of the chem­i­cal struc­ture be­hind prod­ucts,” he ad­vises. “Some­times if you use the wrong prod­ucts to­gether, they can can­cel each other out. If your hair is in great con­di­tion, and you want to add vol­ume to it, it’s best to layer the prod­ucts. Ap­ply any­thing that gives vol­ume first, and then add a pol­ish straight af­ter­wards to heighten the shine fin­ish.” So, on that note, get build­ing.

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